Rock Island daily Argus. (Rock Island, Ill.) 1886-1893, 1887-06-10
ARTISTS In CRIME.
METHODS OF THE MOST SUc-
cEssFuL CROOKS IN LONDON.

Close Students of Human Nature-Man's
Gnllibility the Sharper's Chief Source
of Profit-How Job is Laid Out-The
Safe Rule.
The real artist must create in your mind
the positive belief that he is an honest man,
and that whatever transactions he proposes
to you, or. with deeper cunning, induces
you to propose to and urge upon him, are in
the ordinary course of his legitimate business.
merely negative opinion on your part that
he is not crook will not answer his purpose.
You must have the positive belief that he is
anything but a crook. If the game he has in
hand is not really novel and ingenious one,
he requires this bias of yours in his favor.
because at the final stage of the proceedings
he is going TO do something which will pro-
duce upon you such an impression that if he
were not In your eyes a man beyond sus-
picion, you would suspect him. If this con-
ditlon exists, he is either not true artist. or
else some exigency of the moment, some sud
Den need of money, or some threatened ex-
posure OF his true character renders it neces-
nary for him either to adopt an imprudent
scheme or TO spoil good scheme by hurrying
on its consummation, and running the risk of
losing his fish by trying to land him before
the proper moment.
But the consummate artist, who never al
lows himself to get into such corner as this
nevertheless knows that he must excite in
your mind the strongest belief that he is an
honest man. This is because his experience
has taught him that a crook has to leave a
rrli in hot bo ,, IL.
straight man requires. The slightest accident
will serve to disarrange his carefully laid
schemes.
One of the greatest crooks in Europe once
remarked: IL don't go much on religion, but,
whether it is Providence or luck. somehow or
other something always seems to be working
against us. We have the chances in favor of
the other man all the while, and | ALWAYS
make certain allowance for this"
That is the whole thing in nut she'll; and
it is for this reason that the artist has to
hedge himself in more securely, even if there
is nothing suspicious about his dealings with
you, by creating a strong respect for him in
your mind.
LAYING OUT A JOB.
This, then, is the first thing he has to do
when he is laying out n job The next thing
he has to do is to get You to let him have
| money or moneys worth, for what you be-
lieve good and valuable consideration, but
what is, iii fact, mere empty air or waste
paper. 1t is always easier for him to get
| moneys worth out of you than money. The
circulating medium has, in the eyes of every
man, no matter how constantlyhe is handling
it and paying it out, a certain peculiar value.
OF course. a merchant will let you have his
| goods with less hesitancy, with less scrupu-
| lous investigation of your standing and credit
than lie would hand YOU over roll of green
| backs, because one of the clements which
enters into his calculation of the percentage of
| profit which he must add to the cost of the
goods in fixing his sale price, Is the slight risk
| which he knows he runs even with the sound
| est of his customers. There is always the
| possibility of something as unusual as an
| earthquake.
| handing over money, or of signing 4 check
| calls mans attention to whatever risk he
may be running with peculiar force II there
| is anything in the attendant circumstances
| which would give rise to a misgiving, that il
| the moment when the misgiving presents it
| self to his mind, and therefore the artist will
if possible, avoid taking his spoil in form Of
| money. He knows that you will, for instance
| give him deed to piece of property without
| the occurrence of that little moment fraught
| with so much danger to him. 1t is not likely
to occur to you that a man who is buying {
| house of You is a professional crook. Yor
| know that men often buy houses and under
take to pay for them who, when the payment
becomes due, are unable to fulfill their obliga
tions This much You look into; this much yot
are on your guard against. You know tina
men who are, as the world goes, tolerably hon
| est, are little prone when they are dealing
with you to exasgerate their stability, Il
make you believe you are trife safer thai
| you really are. You make this little deduc
tion from face value of the mans representa-
| tions.
| THE SAFE RULE.